Shakespeare's two Venetian plays are dominated by the discourse of embarrassment. The Merchant of Venice is a comedy of embarrassment, and Othello is a tragedy of embarrassment. This nomenclature is admittedly anachronistic, because the term "embarrassment" didn't enter the language until the late seventeenth century. To embarrass is to make someone feel awkward or uncomfortable, humiliated or ashamed. Such feelings may respond to specific acts of criticism, blame, or accusation. "To embarrass" is literally to "embar": to put up a barrier or deny access. The bar of embarrassment may be raised by unpleasant experiences. It may also be raised when people are denied access to things, persons, and states of being they desire or to which they feel entitled. The Venetian plays represent embarrassment not merely as a condition but as a weapon and as the wound the weapon inflicts. Characters in The Merchant of Venice and Othello devote their energies to embarrassing one another. But even when the weapon is sheathed, it makes its presence felt, as when Desdemona means to praise Othello and express her love for him: "I saw Othello's visage in his mind" (1.3.253). This suggests, among other things, that she didn't see it in his face.

From the creator of the Escape from Furnace series, a ferocious epic of supernatural terror, perfect for Stephen King fans Imagine if one day, without warning, the entire human race turns against you, if every person you know, every person you meet becomes a bloodthirsty, mindless savage . . . That's the horrifying reality for Cal, Brick, and Daisy. Friends, family, even moms and dads, are out to get them. Their world has the Fury. It will not rest until they are dead. In Alexander Gordon Smith's adrenaline-fueled saga, Cal and the others must uncover the truth about what is happening before it destroys them all. But survival comes at a cost. In their search for answers, what they discover will launch them into battle with an enemy of unimaginable power.

'Fury took my breath away. Heyman writes with such brio, muscularity and physicality; her trademark humour, honesty and energy vibrate on every page. This memoir is a triumph.'—Jill Dawson'Gripping and brilliantly written...up there with the very best adventure memoirs such as The Salt Path by Raynor Winn or Cheryl Strayed's Wild. This is a literary work that will stand the test of time and has international bestseller written all over it.'—Louise DoughtyAt the age of 20, after a traumatic sexual assault trial, Kathryn Heyman ran away from her life and became a deckhand on a fishing trawler in the Timor Sea.Coming from a family of poverty and violence, she had no real role models, no example of how to create or live a decent life, how to have hope or expectations. But she was a reader. She understood story, and the power of words to name the world. This was to become her salvation.After one wild season on board the Ocean Thief, the only girl among tough working men, facing storms, treachery and harder physical labour than she had ever known, Heyman was transformed. Finally she could name the abuses she thought had broken her. After a period of enforced separation from the world, she was able to return to it newly formed, determined to remake the role she'd been born into.A reflection on the wider stories of class, and of growing up female with all its risks and rewards, Fury is a memoir of courage and determination, of fighting back and finding joy.

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